8 complex individual, more like someone in real life with several facets in
his personality. A static character is one of who does not really change in the progress of the story; he is the same person at the end as he was in
the beginning. But a dynamic character does change psychological.
According to the statement, since the flat and static character is resembled that they do not have progress during the story, it is mean that flat character are
nearly static but round character is not only dynamic. Nevertheless, a round character can be static if during the story he does not develop. In this case, the
author only focuses his work to the major character. Therefore, the will undergo some important change such as the
personality, the attitude, or the point of view of life as the result of the action in the story. On the other side the character which does not have significant changes
in the story are called the static character.
9
B. Characterization
Characterization just like writer has been said above, that character has certain trait following them called characterization. There are many ways to know
the characterization’s analysis in the film. The characterization can be understood through several ways:
1. Characterization through appearance
How the actor look and what kind of clothes he wear is the main aspect of the characterization. These aspects can de displayed with one of mise-en-scene.
The techniques use to arrange everything in the film in order to make meaningful frames or shot. The aspects of mise-en-scene are lighting, setting, color, costume
9
Joseph M. Boggs, The art of watching film 3th ed., Calofornia: Mayfield Publishing Company, 1991, p.53.
9 and make-up and behavior of figures. The writer would do use the costume and
make-up aspect in the discussion because it is easily to identify and become one of characterization of the character that always appears or wear in the movies for
example, Esther costume that he always wearing cloth-bracelet in her hand in the action show her manipulated-identity.
2. Characterization through dialogue
In the film, the characters expose themselves by that action and how they talk. The words choices, the tone, the stress of voices express their minds,
attitudes and emotions virtually. Furthermore the use of grammar, structure of sentence, vocabulary, and certain dialect reveal social economy level of the
character, educational background and the mental processes.
10
3. Characterization through external action
The characters in the film are instruments of establishing the plot. They have main purpose in the story therefore they will do everything to achieve it.
These actions are called motives which reveal their personalities.
11
It means that the personalities will decide how the character acts to gain their purposes.
4. Characterization through internal action
Internal action is the character’s mind and emotion that contain secrets, unspoken thoughts, daydreams, aspirations, memories, fears, and fantasies. All of
them appear usually in the film. The director can illustrate the character’s imagination or mind by the technique of shot. And the technique called
cinematographic properties. And of the part is angle and distance. It creates the
10
Jossephm.boggs 1991, op.cit. p.54
11
Ibid. p.55
10 particular visual effect besides that it enhances the definite sense of vigorous or
dramatic situation which is being filmed.
12
Angles of framing divided into three categories: the straight-on angle, the high angle, and the low angle. All these
categories used to communicate the difference of dramatic information or emotional attitude.
13
In addition, the film-maker utilizes the shot of close-up on an unusually sensitive and expressive face to illustrate the inner action of character.
14
This technique is called by the distance of camera. 5.
Characterization through reactions of other characters
15
The characterization of the character can be observer by the point of view from others characters. Sometimes at the beginning of scene has already
demonstrated information about the characterization. Characterization, in film, is the presentation of the attitudes and the
behavior of imagery person in order to make them credible to the author’s audience.
16
It means that characterization is the way to presenting the character and make them acceptable to the audience. Actor who represent the character on
the stage also take part in characterizing the character with their own interpretation to the character.
There are two methods of characterization. The first is, direct characterization. In this method the author is ‘telling’ the audience about what the
personality of the character is. The second method is indirectly characterization.
12
Ibid. p.134
13
Ibid. p.135
14
Ibid. p.136
15
Joseph M. Boggs and Dennis W. Petrie The art of watching film 5th ed., Calofornia: Mayfield Publishing Company, 2000, p.50-54.
16
http:en. Wikipedia.orgwikifictional character, accessed July 31
st
, 2011.
11 There are many definitions of character available; here the writer lists only
three important and essential ones as below: 1.
A character is an imaginary person that lives in a literary work. Literary character may be major or minor, static or dynamic.
17
2. A character is some one in literary work who has some sort identity it
does not need to be a strong on, an identity which is made up by appearance, conversation, action, name and possibly thoughts going in the
head.
18
3. A character is any person who appears in a work of fiction. Accurately, a fictional character is the person of conscious entity we imagine to exist
within the world of such work.
19
It can be concluded for some definitions above, that a character is any person, personal, identity, or entity that exists in a literary work. Additionally,
characters may be human, supernatural, mythical, divine, animal, or personifications of an abstraction. Character can be known through the way the
author portrays in literary works. In such a dialogue, action, and commentary, the author implies the existence of a character.
17
Robert Dianne, 2001, Literature Reading fiction, poetry, and drama Singapore: Mc Grew Fill Companies, p.1447
18
Richard Gill, 1995, Mastering English Literature, London: McMillan Master Series, p. 127
19
www. Wikipedia. Com. .orgwikifictional character, accessed 10032009
12
12
CHAPTER III RESEARCH FINDINGS
A. Data Description
